IV. Music
Music A1: Music Fundamentals and Elementary Harmony: Intensive
drill in the underlying rudiments of Music; solfegge; ear training; sight reading;
dictation. Progressive formation of scales; intervals and triads; inversions;
principles of chord connections. Melodic leadings and metrical material. No
previous musical knowledge necessary. (B.A. or B.S. credit, 3 session-hours.)
Professor Fickenscher.
Music B1: Musical History and Appreciation: Not open to first-year
students.—The development of music from antiquity to the present time with
typical examples of each phase. Illustrations and analysis of works of the
epoch makers, treating of their style, influence and historic import. The development
of musical instruments and of the orchestra. Illustrated lectures.
Collateral reading. No previous musical knowledge required. (B.A. or B.S
credit, 3 session-hours.)
Associate Professor Pratt.
Music B2: Harmony: Students taking this course are required to have
had ear training and a preliminary knowledge of musical notation, intervals and
scale formation, or to take concurrently Music A1. Also to have or to acquire
sufficient piano technique to play simple chord successions. Harmonic relationships
and their tendencies, construction of chords, voice progressions, dissonances,
suspensions, sequences, cadences, the pedal point and modulation. (B.A.
or B.S. credit, 3 session-hours.)
Associate Professor Pratt.
Music B3: Counterpoint: Students taking this course are required to
have had ear training and a preliminary knowledge of musical notation, intervals,
and scale formation or to take concurrently Music A1. Counterpoint from the
First to the Fifth Species in two, three, and four parts; combined counterpoint.
(B.A. or B.S. credit, 3 session-hours.)
Professor Fickenscher.
Music B4: Orchestra: Credit to students who have the requisite technical
ability on the following instruments: Piano, Flute, Oboe, Clarinet, Bassoon,
French Horn, Violin, Cello, Double Bass, Kettle Drums, and other instruments
satisfactory to the conductor. The study of scores and the direction and production
of orchestral works. Comprises one two-hour period per week. (3-year
course—B.A. or B.S. credit, 1 session-hour each year.)
Professor Fickenscher.
Students or others not desiring the course for credit are invited to join
the orchestra.
Music B5: Composition: Music B2 and B3 prerequisite.—Advanced Harmony
and Counterpoint. Construction and drill in various rhythmic and melodic
forms. Their use in sections, phrases and periods. Construction of song and
dance forms; the study of these and larger forms, including the sonata form,
through the works of the masters. Application of contrapuntal devices in the
homophonic forms. Students will be given the opportunity to have works performed
by the Choral, Glee Club, Orchestra or Band. (B.A. or B.S. credit, 3
session-hours.)
Associate Professor Pratt.
Music B6: Orchestration: Music B5 prerequisite.—(B.A. or B.S. credit
3 session-hours.)
Associate Professor Pratt.
Music B7: Vocal Ensemble: Music A1 and one year's full attendance in
the Glee Club prerequisite.—The study, direction and production of part songs
and choral works from the time of the ancient madrigal to and including the
present period. Three hours per week. (2 year course—B.A. or B.S. credit,
1½ session hours each year.)
Professor Fickenscher.
Music C1: Advanced Composition: Music B5 and B6 prerequisite.—Advanced
Harmony and Counterpoint, Canon, Fugue, and the larger homophonic
forms.
Professor Fickenscher.
Music C2: Music in the History of Western Europe: Prerequisites:
Two B Courses in the School of Music or the equivalent acquired through
private instruction and study elsewhere. Open to graduates and undergraduates—Development
of the Music and Liturgy of the Catholic Church during
the Middle Ages and Italian Renaissance. Guido, Saint Ambrose. Gregory
the Great and the Gregorian Chant. The Netherlands School, Palestrina. The
influence of the Papal Choir in European Music. The religious and secular
composers of the Classic and Romantic Periods. Bach, Handel and their
successors. Hours to be arranged.
Associate Professor Pratt.
Choral Singing: Fundamental principles of sight reading. Study of part
songs and other choral works of various masters from the Netherlands School
to the present day. Three concerts during the Academic year. One to two
hours a week.
Professor Fickenscher.
Glee Club: Study of cappella and accompanied choruses both classic and
of a lighter character. Students with reading knowledge of music will be given
a preference. Two to three hours a week.
Associate Professor Pratt.
Band: Open to students who have had training in playing the usual band
instruments.—The University Band was organized to play and study the various
types of band music and to serve the University at the important athletic
events and on other occasions by performances given before and during the
events. Whenever possible the band will accompany the teams on their out of
town trips. All men interested in the Band should bring their own instruments,
if possible, since the Band equipment is limited. Two to three hours a week.
Associate Professor Lutz.
Technical Training: Technical training under special instructors in Singing,
Pianoforte, Organ, Violin, Cello, Clarinet and other wind instruments. University
students may arrange for tuition in these branches at a reduction in rates
by application to Professor Fickenscher or Associate Professor Pratt.
Concerts: a. A series of five concerts by artists of international reputation
at moderate prices gives opportunity for extended musical knowledge and
appreciation.
b. A series of ensemble recitals by the faculty of the Music School affords
opportunity for intimate acquaintance with the best in musical literature and
thorough familiarity to become intelligent in appreciation of the masters.
c. Concerts by the Glee Club and Orchestra.
Equipment: The work offered re-establishes the instruction outlined in the
first curriculum of the University, 1818, the earliest proposal for instruction in
art, architecture, and music in any American university. An unrivalled background
is provided for it by the buildings and environment of Charlottesville;
the University group, with its old buildings specially designed to furnish
examples of the various orders "as specimens for the architectural lectures,"
its new buildings designed by Stanford White; the works of sculpture by Houdon,
Ezekiel, Bitter, Borglum, Keck, Shrady, and Aitken; the concerts and
exhibitions of paintings brought to the University with part of the income of
the McIntire fund.
For Music, the Carnegie Foundation has recently presented the school with
the "Carnegie Music Set," comprising a Capehart Phonograph, 900 records, several
hundred orchestral, piano and vocal scores, and 300 books for the
General Library covering the historical, biographical, technical and popular
aspects of musical art. The school has also two concert grand pianos, an Ampico
reproducing grand piano and several phonographs. The equipment for
radio reception includes microphone and mechanism for making alumni
records of home performances. A set of band instruments purchased by the
Alumni Association, double basses, kettle drums, and various other unusual
instruments for the use of students in the orchestra, a comprehensive library
of chamber music, orchestral scores and parts, operas and piano classics, as
well as books of reference on musical subjects and collateral reading. There
are also available for the Music School a three-manual Skinner organ in
Cabell Hall and a three-manual Moeller organ, the gift of Paul Goodloe
McIntire in connection with the McIntire Amphitheatre, and a two-manual practice
organ in the University Chapel. The following gifts have been made to the
musical library: by Mr. Iredell Jenkins, a valuable collection of operas, oratorios,
light operas, piano music, first editions; by Professor Gardner Lloyd Carter,
piano music and books on musical subjects; by Mr. Charles Orchard, a set of
biographical works; by Mrs. W. H. Sage, a collection of piano music, violin and
cello sonatas, trios, quartettes and quintettes.
